Professional Documents
Culture Documents
Adapting Classroom
Materials Using Process
Drama Strategies
Article December 2013
CITATION
READS
118
1 author:
Haeok Park
International Graduate School of English
9 PUBLICATIONS 4 CITATIONS
SEE PROFILE
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Foreign Languages Education, 20(4), 2013
Hae-ok Park
International Graduate School of English
4)
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Hae-ok Park
I. Introduction
The importance of adapting ELT classroom materials cannot be overemphasized
as every classroom is unique, and it is almost impossible to satisfy every member
of a class using only one kind of teaching materials over an entire course
(Cunningsworth, 1995; Hong & Kim, 2011; Islam & Mares, 2003; McDonough,
Shaw, & Masuhara, 2013; McGrath, 2002). According to Cunningsworth (1995),
each teaching/learning context is unique due to a range of factors, including
classroom dynamics, the people involved, the chosen syllabus, and the learners
motivations and expectations.
The idea of it being impossible to meet teaching goals using only a published
coursebook has resulted in conflicting opinions about even one's use (Allwright,
1981; Brumfit, 1979; Nunan, 1988; Ur, 1996). For instance, Allwright (1981) claimed
that "the management of language learning is too far complex to be satisfactorily
catered for by pre-packaged set of decisions embodied in teaching materials" (p.
9). As an alternative, he recommended active learner training and teacher training
to yield more highly prolific results in L2 learning instead of relying on a
commercially published coursebook.
ONeill (1982), however, argued in favor of using a coursebook on the condition
that its use be limited to a "jumping-off point" for teachers and the class.
According to O'Neill, a great deal of the core teaching in a class should initiate
with the coursebook but end outside it, in improvisation and adaptation, in
spontaneous interaction in the class and the development from that interaction (p.
110). This idea supports using process drama techniques when adapting classroom
materials in Korean secondary classrooms. Since Korean in-service teachers
should teach classes consisting of varied language levels using the same text,
knowing how to adapt a textbook to their current students' needs and wants is
necessarily an important part of their work.
The effective use of process drama in L2 classrooms has been reported by a
number of researchers outside Korea (e.g., Dunn & Stinson, 2011; Kao, Carkin, &
Hsu, 2011; Kao & ONeill, 1998; Piazolli, 2011; Rothwell, 2011; Stinson, 2008;
Stinson & Freebody, 2006), and recently inside of Korea studies have examined the
effectiveness of process drama in Korean EFL classrooms (e.g., Hong, 2011; Kim,
J. S., 2012; Kim, M. D., 2012; Kim, S. Y., 2013; Lee, 2013; Park, 2006, 2010, 2012).
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For instance, Park (2010, 2012) described how she adapted classroom materials in
order to implement a process drama in a Korean EFL middle school classroom.
The study, however, focused on analyzing classroom discourse to discover how
teacher questioning changes from one classroom environment to another: from her
regular class to her process drama class. However, in spite of the number of
studies conducted, a rationale and approaches for adapting classroom materials by
using process drama have not been appropriately explored.
Furthermore, as Park (2012) indicated, the majority of Korean English teachers
are not aware of process drama and its effectiveness in teaching and learning
English since only a few teacher training programs offer courses about process
drama. According to the 2009 revised national curriculum, the improvement of
English speaking and writing ability is one of the four issues which should be
emphasized in the English classroom.
Regarding the improvement of students' productive skills, Park & Park (2013)
recommended increasing opportunities to practice speaking and writing in class not
practicing each skill separately but rather by integrating the four language skills in
tasks. However, how can teachers integrate all four language skills in their classes
unless their text books provide appropriate materials? (Rha & Song, 2010) In fact,
without knowing how to adapt the given materials to match their students' needs
and wants, successful language teaching would not occur. This study, therefore,
explores a group of secondary English teachers' experience with process drama
aiming to investigate the possibility of using it in their classroom, and finally to
help them to adapt their textbook materials according to their students' needs and
wants using process drama.
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situation (Kao & O'Neill, 1998; Park, 2012), using process drama techniques to
adapt classroom materials could provide opportunities for learners to acquire
language not only by feeling and thinking but also in multi-dimensional ways such
as miming or creating a still-images.
III. Methodology
The researcher carried out this study as the instructor of a course attempting to
improve current Korean secondary English classrooms by investigating the
participants' on-going reflections, questionnaire results, adapted materials
completed by the participants, and instructor's teaching log throughout the course.
1. Participants
The participants in this study are a group of 26 secondary English in-service
teachers from Gyeonggi Provincial Office of Education. They participated in an
intensive teacher training program that started the first of March, 2013, and
finished at the end of August, 2013. The training program consists of two months
of training at Gyeonggi-do Institute of Foreign Language Education, three months
of training at a domestic university and one month of training at an overseas
university. This study was conducted during the three months of training at a
domestic university. The participants' teaching experience ranged from 13 teachers
with 5-10 years of teaching experience, 10 teachers with 10-15 years of teaching
experience and up to three teachers with more than 15 years of teaching
experience (see TABLE 1).
TABLE 1
Teaching Experience
Frequency
Percent
5-10 years
13
50.0
10-15 years
10
38.5
11.5
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Prior to the drama session, the first questionnaire was conducted (see Appendix
1). It mainly asked about the participants' teaching experience and their awareness
of process drama. Regarding the awareness of process drama, only two teachers
answered that they had learned about process drama before but their knowledge is
considered basic, and the other teachers answered that this is the first time for
them to encounter process drama or that they had heard about it but do not know
what it is. Nobody answered that they had learned about it or had experimented
with process drama with their students (see TABLE 2).
TABLE 2
Awareness of Process Drama
Frequency
Percent
20
76.9
15.4
7.7
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teaching techniques such as process drama during the teacher training session.
TABLE 3
Teaching High School English in a Communicative Way
Frequency
Percent
Strongly Agree
26.9
Agree
17
65.4
Disagree
7.7
Strongly Disagree
TABLE 4
Willingness to Use Innovative Ways of Teaching
English
Frequency
Percent
14
53.8
12
46.2
TABLE 5
Using Improvisational Role-play in the Class
Frequency
Percent
I did it regularly
3.8
I did it sometimes
26.9
I did it rarely
13
50.0
19.2
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teacher training program at a teacher training institute in Seoul. The drama course
was composed of five two-hour classes, and the data was collected from
questionnaires, participants' learning reflections, the instructor's teaching log, and
participants' adapted material completed in class. The study schedule is detailed in
TABLE 6.
The questionnaires were administered twice, one at the beginning of the course
and the other at the end of the course. Regarding the learning reflections, the
participants were asked to write three times at the end of the classes and each
learning rationale asks three questions: (1) 'What were the three most important
things you took away from today's lesson? And why do you think so?' (2) 'How
would you apply today's lesson to your own class?' and (3) 'Is there any
suggestion about today's lesson?' The instructor kept a teaching log to fulfil her
role as a reflective practitioner (Schn, 1983).
The main aim of this research is to explore the teachers' experiences with
process drama and to investigate how much they are able to increase their
awareness of process drama through the training course. Consequently, the
researcher wanted to find out which process drama strategy they regarded as the
most adaptable for their teaching context and how and why they would adapt it.
Additionally, the possible challenges in implementing process drama will be
discussed.
TABLE 6
Study Schedule
Class Date
Topic
Classroom Activities
Collected Data
1st class
May 3
Introduction to
process drama
Questionnaire 1
Learning Reflection 1
Teaching Log
2nd class
May 24
Learning Reflection 2
Teaching Log
3rd class
May 31
Process drama
conventions
4th class
Jun. 14
Adapting textbook
using process
drama
Teaching Log
Adapted Materials
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5th class
Jun 24
Questionnaire 2
IV. Results
1. The Most Adaptable Process Drama Strategy
After experiencing three process dramas, the second questionnaire was
administered. The participants were asked which drama strategy would be most
adaptable for their teaching context and why they thought so. The combination of
tableau and thought-tracking was selected by 18 participants, role-on-the-wall
was chosen by six, writing-in-role by four, and questioning-in-role by three.
Because a few participants selected more than one strategy, 31 answers were
counted from among the 26 participants' answers.
1) Tableau to Enhance Reading Comprehension, Creativity, and Motivation
Tableau is a drama strategy that is also known by a range of other names such
as group sculpture, freeze-frame, photograph, frozen picture or still image
(Fleming, 2011; Kelner & Flynn, 2006). Groups create "an image using their bodies
to crystalize a moment, an idea or a theme" in a tableau (Neelands & Goode, 2000,
p. 25). It is commonly used in conjunction with another drama strategy named
thought-tracking defined as follows;
Thought-tracking reveals publicly the private thought or reactions of
participants-in-role at specific moments in the action so as to
develop a reflective attitude towards the action and to contrast
thinking-for-self with outward appearances or dialogue. Action may
be frozen and participants 'tapped for thoughts', or thoughts may be
prepared to go with the presentation of a still-image (Neelands &
Goode, 2000, p. 91).
Ajay's story, the first process drama in this study, ended with creating an
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ending scene using tableau and thought-tracking. The participants were asked to
imagine what would happen to the family of the Indian boy, Ajay, whose family
came to live in Korea. However, recently, his father was fired from the factory
where he was supposed to work for four more years, and his sister felt sick from
leukemia which requires urgent operation. After experiencing a range of tasks
such as role-on-the-wall, teacher-in-role, and questioning-in-role in the form of
TV talk show, the participants were asked to create ending scenes imagining what
might happen to the family of Ajay using tableau and thought-tracking.
The second process drama, Tina's story, also ended in a tableau and
thought-tracking in groups. Adopted by an American family when she was a
baby, a 22 year-old-Korea-born girl Tina, wanted to find her biological mother,
and the drama unfolded by going through a range of drama strategies and
pre-tasks. The final activity was also creating a tableau and thought-tracking by
representing what might happen to Tina.
Likewise, the third process drama, the boy who cried wolf and its epilogue,
ended with a tableau about what might happen to the shepard boy who cried wolf.
The drama started with the shepard boy who lived with his mother and had a
lonely, miserable life, needing attention from others. That's why he shouted twice
without expecting the real wolf to come so soon. From this terrible incident, he
was forced to leave the village because of the villagers anger and distrust. The
drama started with the villagers looking back at the boy's lonely life and realizing
that he was only a little boy who needed company. After carrying out several
drama strategies, the combination of tableau and thought-tracking was performed
by the participants representing what might happen to the shepard boy.
The results of the questionnaire and the learning reflections showed that tableau
would be the most adaptable strategy for their classroom contexts. The following
table illustrates the coding results of the answers of the participants' questionnaire
(see TABLE 7). Because a few participants pointed out more than one reason,
those answers were coded more than once according to relevance.
TABLE 7
Reasons for Using Tableau to Adapt Textbook
Reason
No.
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Among the reasons offered by participants, one answer showed a specific plan
for using tableau in a future classroom.
I have been teaching middle school students for seven years and I've
been managing the English musical club since 2012. For my own
situation in normal English class, tableau is the most suitable
strategy for post reading activity, because students may be involved
to make a creative tableau after reading comprehension. For my
musical club, I want my musical club students to create their own
process drama using TV interview or hot-seating. Actually, I want
to make the six-month project including various strategies (middle
school teacher M).
Some teachers pointed out the passive and static learning environment of the
Korean secondary English classroom showing the possibility of changing in the
learning atmosphere using tableau.
Most students aspire to get engaged in fun activities in class. They
don't want to sit straight up looking at the board all the way of
class. To get students involved in 'text' and 'class' at the same
time, teacher will utilize tableau & thought-tracking at certain stage
of lessons (high school teacher K).
One high school teacher's thought on the benefit of using a tableau in her class
summarized a comprehensive opinion about its possibility of use.
In tableau, each student takes a role and shares what he/she learns.
This has two obvious advantages. One is we can cover long text
(many contents) or information in a short time without losing any
part. The other is we can teach responsibility and cooperation as well
as language skills simultaneously (high school teacher S).
2) Role-on-the-wall to Encourage Writing in a Meaningful Context
Role-on-the-wall is a drama strategy that is used to explore or develop a
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convenient to use
in class
3
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the rest of the teachers became other adoptive parents who also had a similar
experience about their adopted child. The instructor's teaching log describes the
hot-seating of Tina's parents as follows;
Today's highlight was the hot-seating of Tina's parents. D and P
were Tina's parents, and the other teachers became other adoptive
parents who had similar problems. I gave them some time to create
questions in advance. Honestly, I was worried about how D and P
would act out because they looked shy and introverted. Surprisingly,
the two teachers acted as if they were real Tina's adoptive parents,
and everybody was really surprised. I think it's the power of process
drama. It changes people right away. Thanks to their authentic
acting, today's hot-seating progressed successfully.
In a similar fashion, the teachers thought that questioning-in-role is an
effective tool for creating communicative classroom atmosphere because the
students feel easier to express their feeling as a character than as themselves. One
teacher's comment on hot-seating experience shows the possible use of
hot-seating in her class.
Students can get involved in the character's emotional state and try
to deliver message they want to say. This has two benefits: first,
they can live vicariously the characters so they understand others
well. second, they can improve their learning autonomy because they
have to speak in English in the character's position (high school
teacher, D).
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V. Discussion
Willis and Willis (2007) argued that one of the most important things about
task-based-teaching is promoting learners' confidence by offering them "plenty of
opportunities to use language in the classroom without being constantly afraid of
making mistakes" (p. 2). Based on this idea, they emphasized the important role of
meaning in language because "in the course of meaning-focused activity learners
naturally focus on language for themselves" (p. 4). Their ideas on task-based
lesson, therefore, center on not a single task but a sequence of tasks since going
through a range of tasks progressing with the same topic gives learners more
opportunities to use language in a meaningful context.
The structured approach provided by Willis and Willis (2007) demonstrated their
emphasis on sequencing tasks in which learners are required to process language
for meaning. A proposed sample activity starts with teacher-led instruction and
learners processing language for meaning, responding to teacher's priming. It is
very much similar to sequencing strategies in process drama. In process drama, a
teacher commonly starts the drama in a role informing and inviting learners to the
drama context. By using a range of strategies, learners' involvement in drama
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progresses allowing them to express and communicate their ideas with one
another. In the meantime, a number of opportunities to practice and use the target
language take place. This is clearly shown in the adapted materials by the
teachers (see TABLE 10). After experiencing three process dramas, the teachers
were asked to adapt a reading text from one of the authorized high school
textbook (for the given text see Appendix C). Considering the materials adapted
by the teachers during this study, one can notice how frequently learners have
opportunities to use the language in a meaningful context while participating in the
drama. As can be seen in TABLE 10, prior to conducting each drama strategy,
students are required to prepare the next stage by collaborating with their group
members, consequently, they use language practicing the prepared expressions or
ideas in the drama. Since this is designed as a post-reading activity, background
knowledge about the story and basic expressions were already covered in previous
lessons.
From the classroom discussions and learning reflections, it was revealed that
the teachers had been looking for suitable ways to adapt their textbook materials
for their classrooms. Since their classes are composed of students of various
proficiency levels. in order to satisfy as many students as possible in the class,
they agreed that teachers need to know various ways of adapting the given
materials. In that sense, learning and experiencing about process drama provided
them with an inspiring and eye-opening experience since for the most of the
teachers this training session was their first experience with process drama.
The instructor's teaching log revealed that the teachers enjoyed changing into
new identities in drama regardless of their personal traits. Some teachers looked
introverted and serious; however, when they took on a role in drama, their acting
was real, and they looked like different people. This was repeatedly observed
during the class, especially when they were doing questioning-in-role. In this
study, questioning-in-role was done in the form of hot-seating or TV talk show,
and every time the teachers took on a new role, they easily moved into the role,
and enjoyed acting out.
Unlike the first questionnaire results, in the learning reflections and the second
questionnaire, all of the teachers were not only willing to use process drama
strategies in their classes but also looking forward to using them as soon as
possible.
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TABLE 10
Adapted Materials by Trainees Using Process Drama
Group
Procedure
Teacher's Action
Teacher introduces
Preparing for
hot-seating and assign
hot-seating
three roles (Mr. Jones,
(in the form
expert, and professor), to
of TV show)
three student.
Performing Teacher hosts a TV talk
TV Talk
show introducing the
Show
guests.
Teacher asks Ss to
create tableau &
Preparing for
thought-tracking about
tableau
what will happen to the
ending of the story.
Teacher invites each
Performing
group to the front and
tableau
tableau performance
continues.
Teacher asks Ss in
group to conduct
Role-on-therole-on-the-wall
wall
assigning each group a
role to develop.
Teacher asks Ss to
choose which
Choosing who
role-on-the-wall
is who
represents who in the
story.
Teacher assigns parts of
Preparing for
the text to each group to
tableau
create tableau.
Teacher invites each
Performing
group to the front and
tableau
tableau performance
continues.
Teacher suggests Ss to
write a letter to anyone
Writing-inin the story being one of
role
the characters of the
story
Students Action
Language
Use
speaking
&
listening
reading
speaking
&
listening
writing
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variety of process drama techniques through this process drama training session,
and they felt now much more ready to teach a multi-leveled group of students. A
more interesting comment was that their students as well as they, also language
learners, want to learn English using drama techniques because now they realize
more clearly than ever that learning an additional language cannot be separated
from using it in meaningful situations. Since drama provides language learners
with enriched experiences to use the language, they believe that knowing how to
adapt textbook materials using process drama techniques would be a valuable
asset for them as English teachers.
To conclude, this study was designed to find out how secondary English
teachers would receive process drama as a textbook adapting tool aiming to
investigate the possibility of using it in their classrooms. The results showed that
all participants wanted to use process drama in adapting their classroom materials,
and among drama strategies, the combination of tableau and thought tracking was
chosen as the most adaptable technique for their teaching context. As challenging
factors to implement process drama, teacher-in-role, difficulties in classroom
management, finding materials, and motivating students to act were pointed out.
Additionally, more teacher training programs and teaching materials related to
process drama were suggested to be developed in the near future.
Improving learners' productive skills is one of the most urgent and important
issues that secondary teachers are facing. It is also one of the four issues that the
2009 revised national curriculum emphasizes. By developing more teacher training
programs about process drama, more teachers will have opportunities to learn not
only how to adapt their classroom materials but also how to develop process
drama materials for their classroom contexts, and as a result, learners could have
more opportunities to improve their productive skills by participating in drama
activities more often. As the teachers of the study commented, process drama is
insightful, new, interesting, motivating, creative, practical, convenient, authentic,
cooperative, integrating, helpful, useful, and most of all, communicative.
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APPENDIX A
Questionnaire 1
The following questions are designed to investigate ways to implement
process drama in the Korean EFL secondary classroom. Many thanks
for our help in advance.
1. How long have been teaching English?
a. less than 5 yrs.
b. 5-10 yrs.
c. 10-15 yrs.
d. more than 15 yrs.
2. Do you think that Korean high school students should learn English
in a communicative way?
a. Strongly agree
b. Agree
c. Disagree
d. Strongly disagree
3. Have you ever tried improvisational role-play in your classroom?
a. I did it regularly
b. I did it sometimes.
c. I did it rarely
d. I haven't done it.
4. Are you willing to use innovative ways of teachig English such as
process drama in your classroom?
a. I love implementing innovative ways to teach English in my
classroom.
b. I like the idea of using innovative ways to teach English but I
don't use them in my class.
c. I don't use innovative methods because most of them are not
appropriate for my students.
d. I don't like innovative methods or techniques.
5. What is your awareness of process drama?
a. This is the first time I heard about it.
b. I heard about it but I don't know what it is.
c. I learned about process drama but my knowledge about it is basic.
d. I learned about it and I tried it with my students.
6. Have you ever tried any drama techniques in your classroom? If
you have any, please describe how it was.
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APPENDIX B
Questionnaire about Process Drama 2
1. You developed process drama lesson by adapting the given
classroom materials. Which drama strategy do you think the most
convenient one to adapt in the Korean secondary classroom? And why
do you think the strategy is the most suitable for the Korean
students?
a.
b.
c.
d.
e.
Teacher-in-role
Role-on-the-wall
Tableau & Thought-tracking (shoulder touch)
Writng-in-role
Questioning-in-role (Hot-seating or Interview)
You can write the reason why you think that way:
4. You attended four process drama classes and each class lasts 100
minutes. Do you think the length of the course is appropriate for you
to learn about process drama? If you have any suggestion about the
future course, you can write about it here.
Appendix C
Reading Text from an Authorized High School
Provided to Teachers for Adapting in this Study
Textbook
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